“That n**** Banks one of the top n****s ever with bars. That’s one rap n**** n****s don’t play with. It’s certain rap n****s n****s don’t play with. He got a million lines [where] you’ll be like, ‘How the f*** I didn’t think of that?’” That was Benny The Butcher (via HipHopDX) talking about how talented Lloyd Banks, his New York contemporary, really is. Given how the Griselda affiliate was conveying his message, it almost sounds like the former G-Unit MC is someone to be feared. That is especially true around this time of year, as Lloyd Banks is known to drop projects in his fan-favorite Halloween Havocseries.
It’s true once again in 2024 with the V installment in the series here as of yesterday. It’s the second in two years, with the fourth, The 72nd Hr, ending a seven-year absence. Halloween Havoc V is the first project for Lloyd Banks this year and it’s quite the way for him to reintroduce himself solo wise. Across the 16 songs, he’s sounding more imposing than ever before over some equally frightening beats. A huge shout out goes to Cartune Beatz, Arkatech Beatz, Formula 2, among others for keeping the grim vibe of these tapes alive. Despite this being such a substantial listen according to the fans, Power 105.1 says there’s a chance that A.O.N. (All or Nothing) Series Vol. 3: Despite My Mistakes, drops sooner than later.
Somewhere between sadistic humor and a homophobic slur, Tyler, The Creator became the face of a generation of edgy internet kids. Through the Wolf trilogy, alter-egos and characters like Wolf Haley became vessels of his personality to varying extremes in ways that felt reminiscent of Eminem and Slim Shady. He struck a visceral reaction when he emerged with the video for “Yonkers” yet his subsequent efforts proved that the shock value remained secondary to his art. Still, misogyny and homophobia unintentionally became a focal point of his brand to the blind eye who, understandably, couldn’t overlook Tyler’s twisted juvenile humor for the sake of storytelling. But, as Tyler matured, so did the characters in his work including Saint Chroma, the most forthcoming alter-ego that the Odd Future frontman adopted for his new album, Chromakopia.
Roughly 15 years after Tyler transported us to his therapist’s office on Bastard, where his teenage angst and childhood trauma became the central force of the Wolf trilogy, the L.A.-based artist invites his mother to assist in this chapter of closure. Her voice rings out through the album as a guiding light of affirmations, echoing words of uncut positivity and tough love that stuck with Tyler through his formative years in Hawthorne to global stardom. More importantly, she becomes a gateway for a deeper exploration into who Tyler became. She’s the first person who speaks on “St. Chroma,” telling him, “Don’t you ever in your motherfucking life dim your light for nobody.” These words feel particularly close to home if you’ve seen Tyler’s transformation in the past decade, from employing dark humor and troll tactics as a character trait across his catalog to emerging on the frontline as one of the most ambitious artists of our time.
On Chromakopia, Saint Chroma, a persona who uses a mask to hide his paranoia, becomes a vessel to explore his own fears. There’s a clash between self-assurance and anxiety that peaks across the album. For example, songs like the electrifying Zamrock-influenced “Noid” find Tyler seemingly evokes Don Hogan Charles’ iconic image of Malcolm X peaking through his windows. “I can’t even buy a home in private/ Home invasions got my brothers dyin’,” he raps. “Notice every car that’s drivin’ by/ I think my neighbors want me dead/ I got a cannon underneath the bed/ Triple checkin’ if I locked the door.” If Call Me When You Get Lost was Tyler reaping the fruits of his labor as a rapper–checking the media and his peers as a fierce competitor in the genre’s ecosystem with numbers to match–then Chromakopia explores the pitfalls of his success and the impact it’s had on his personal life.
This sense of uncertainty extends to his views on relationships, anchored by his mother’s wise words to “never tell a b*tch that you love her.” And for an artist who has managed to maintain some control over his public image, songs like “Darling I” and “Like Him” bring further context to commitment issues. The former, with a gorgeous vocal performance from Teezo Touchdown and Neptunes-like bounce, delves into Tyler’s philosophy on monogamy, and the daunting reality of what forever means. “I love this girl, though, I hit the gold mine/ I’m thinkin’ new crib, I’m thinkin’ two kids/ Until I get infatuated with a new bitch,” he raps. Meanwhile, “Like Him” delves deeper into the matter as he reflects on the traits he inherited from his absentee father. This record, in particular, finds him coming to terms with the complexity of his relationship with his dad while his mother takes accountability for cutting off any potential communication between them.
This level of honesty and sincerity creates the foundation for Tyler’s most forthcoming body of work in his career. Moments like “Hey Jane” are deeply intimate, where he divulges on nearly having a child and the conflicting emotions that come with it. Flexing his storytelling abilities in full, he provides a wide scope from his lens and hers. Tyler’s attention to detail, from his storytelling to impeccable production across the album, allows this journey to unfold without skip, culminating in the album’s zenith, “Take The Mask Off.” It’s here where Saint Chroma sees himself in a trifecta of characters hiding behind their truths: a gangbanger from a privileged background, a closeted pastor, and a woman of three children whose depression hides behind a facade of a picture-perfect family. Tyler’s admissions of self-doubt and selfishness are rooted in his own aspirations–a paradox that fuels his shortcomings and success.
Photo by Frazer Harrison/Getty Images
A journey of discovering one’s self-identity ties his past and future together in ways that seep through his impeccable production and ability to harness the best out of his collaborators–a result of Pharrell’s evident influence across this project, no doubt. Doechii’s stand-out verse on “Balloons,” or ScHoolboy Q’s effortless cool on “I Thought I Was Dead” feel central to their respective songs without overshadowing Tyler. Even in the moments in between his plaintive thoughts that leap towards rambunctious beats and over-the-top flexes, the inclusion of GloRilla and Sexyy Red on “Sticky” turns the record into a quintessential banger in Tyler’s catalog, even if Lil Wayne’s verse feels subpar in comparison to their previous collaborations.
It’s the full portrait of Tyler that makes Chromakopia such a worthy listen, and as it stands, a strong contender for one of the most important hip-hop albums of the year. The evolution of Tyler, The Creator has been one of the most gratifying of any career among his generation of stars–outside of Childish Gambino, who also appears on the album. He’s always been daring in his approach to art, committed to pushing the boundaries and stretching his creativity beyond the booth. However, the honesty that he’s presented has sometimes been wedged between alter-egos. Chromakopia is an exploration of the artist behind the mask and it results in a beautifully personal body of work that digs into his new sense of liberation.
JT and Lil Uzi Vert always support each other through thick and thin, so it’s nice when the latter circumstance comes up more often than the former. Moreover, she recently took to Instagram to congratulate them on their brand new album Eternal Atake 2, penning a message on how proud she is of her boo. “So proud of you always!” the former City Girl wrote. “My top 3 is light year, pears to mars & Mr.chow honorable mention chill bae! Really the whole thing but that’s being bias because you do no wrong in my eyes! Forever your #1 fan! Paint the world white my baby, congratulations on EA2.”
However, a lot of Lil Uzi Vert fans don’t share this same sentiment, at least when it comes to the top three songs debate and the quality of Eternal Atake 2 as a whole. Many of them expressed disappointment in this LP, throwing “washed” allegations left and right while speaking on how much more they prefer their older catalog. Of course, fan reception isn’t everything, especially when the Philly rapper has someone like JT there to share some love. Maybe this initially negative reception ages like milk or this project doesn’t stand out in the wider Uzi catalog in retrospect.
In addition, this follows some more backlash concerning Lil Uzi Vert, but for completely different reasons concerning JT. Some fans felt that she disrespected them when she didn’t post anything for National Boyfriend Day on October 3, as irrelevant as this aspect was for others online. Regardless of this omission, the couple’s pride for each other and in each other is usually no secret online. As such, maybe a specific post wasn’t necessary to show this, although it certainly couldn’t have hurt.
Meanwhile, as fans bicker and throw their hot takes around JT and Lil Uzi Vert’s music and relationship, they are just having a good time wherever they go. They’ve never been the type to get caught up in backlash, even though they’ve previously opened up about insecurities and celebrity pressures. Even if you weren’t a fan of Eternal Atake 2, you can be just as happy for the couple’s steady sailing.
Latto is currently making her way around the U.S. on a tour in support of her new album, Sugar Honey Iced Tea. The Atlanta hitmaker has been joined by Mariah The Scientist and KARRAHBOOO throughout the trek so far, and recently, she surprised fans with some additional exciting special guests. During her stop at Brooklyn’s Barclays Center yesterday (October 31), she brought out two native New Yorkers, Lil Kim and A Boogie Wit da Hoodie.
From the look of things, the crowd was feeling the performance, and there’s fortunately more to come. Latto’s “Sugar Honey Iced Tea” tour is set to run into December with upcoming shows in Boston, Toronto, Detroit, Chicago, and more.
While Latto’s tour seems to be a tremendous success so far, it didn’t exactly start with a bang. The femcee took to social media shortly after her first performance in Tampa and made it clear she wasn’t happy. She also claimed she’d be confronting various members of her crew about how the show went. “Show was a hot mess,” Latto began at the time. “Could’ve been worse. But, hey baby, what can you do. I did my job.”
“I did my job,” she also added. “[The] lighting [crew is] getting cussed out. [The] video [crew is] getting cussed out. [The] wardrobe [team is] getting cussed out.” Luckily for Latto, it doesn’t appear as though fans had any complaints, and she has plenty of shows left to execute exactly the way she’d like. What do you think of Latto inviting various special guests to join her onstage for her Sugar Honey Iced Tea tour stop in Brooklyn? Who do you hope she brings out next? Share your thoughts in the comments section down below and keep an eye on HNHH for more updates.
Today, charismatic multi-platinum rapper Kodak Black drops his brand new mixtape Dieuson Octave via Vulture Love / Capitol Records. Fans got a taste of the stacked new set on Halloween day with the release of reflective lead track “Catch Fire”
Kodak’s latest project is named after the Pompano Beach, Florida, artist himself — Dieuson Octave is his birth name, and “Catch Fire” in particular feels personal. Over a slightly somber L Beats production, Kodak sets the scene: “I made a lot of money, spent most of it making a bail / Doing whatever I feel and getting away like a pit bull tryna chase his tail.” His voice is warm as he considers his grandmother, his newborn son, and what his lifestyle means to those around him.
The “Catch Fire” cover art features a surreal photo of Kodak’s actual car in flames after the gas line started leaking on the highway — an incident that took place while the rap star was filming his first Kick livestream.
If you don’t know who Kal Banx is, you may want to do your homework on the TDE (Top Dawg Entertainment) producer. He’s been behind some of the best singles and projects over the last several years. 2024 has especially been a strong year for the steady veteran, though. Banx has his prints all over Doechii’s excellent breakout mixtape Alligator Bites Never Heal.ScHoolboy Q got some assistance from him on BLUE LIPS. But don’t think he’s only favoring his label mates. Banx produced Denzel Curry’s “Walkin,” several Baby Keem tracks from DIE FOR MY B****, as well a few from Dreamville’s Revenge Of The Dreamers III.
However, the hitmaker has spent most of his time in the industry lending a hand to other MCs. But it seems like Kal Banx is getting ready to drop his first solo project because he’s back with “Sunstory.” This record comes just a few weeks after the release of “HOP OUT CHO FEELINS” with Smino and Buddy. If you have heard that, it’s a pretty lowkey trunk-knocker with crisp bass and melodic performances. The same goes for “Sunstory,” which features the most chill MC on the TDE label, Isaiah Rashad. These tracks are very cohesive sonically, the cover artworks are almost identical, which means an album has to be on the horizon… right?
Yeah, I’m done dreamin’ now I’m done sipping out the cup Yeah, I’m a healthy kid, I’m done givin’ out the f***s, yeah Yeah, I quit giving up, ’cause God good enough to trust, yeah I’m on some other s***, I got my niеces in the truck, yeah, ha I’m on somе family s***, we gotta always keep in touch
Bankroll Freddie finally received his prison sentence following his conviction on multiple charges including drug trafficking and firearm possession back in May. According to FBI officials in Little Rock, Arkansas, he received a sentence of 12 and a half years, although it’s unclear which of the Department of Justice-outlined charges this sentence is for. The rapper’s conviction was for charges of on count of possessing and distributing a controlled substance, one count of marijuana possession and distribution, one count of gun possession to further drug trafficking, and one count of furthering drug trafficking crimes through a communications facility.
However, the court also acquitted Bankroll Freddie on various charges, including one count of machine gun possession and other charges in the original indictment against him. This legal action stemmed from a massive drug and gun bust in 2022 that also involved his father and many other arrested individuals. At press time, there isn’t much more information about this sentence, Freddie’s situation, or the other charges that the court acquitted him for. While things could certainly be worse for him, this 12-and-a-half-year sentence is nothing to dismiss.
For those unaware, this whole Bankroll Freddie situation also seriously implicated and caught up a couple of members of his immediate family. Per Arkansas Online, the court denied Freddie’s father, Freddie Gladney, his bond earlier in February. Law enforcement reportedly caught Gladney discussing drugs and weapons with three of his sons, plus arranging sales of contraband with his daughter, via wiretapped conversations. As such, all these individuals emerged as codefendants in this case. Still, not much else has emerged concerning these other codefendants outside of the family apart from the public updates on the Arkansas MC, so there is still some digging to do.
Meanwhile, fans wonder whether or not Bankroll Freddie got his jewelry back, which he requested shortly after his arrest. Considering this sentence and the heaviness of much of the original indictment against him and many others, it doesn’t seem like a likely outcome. Nevertheless, perhaps the near future will provide us with some more updates and developments in this case that could illuminate the situation further.
It’s been done! Conductor Williams finally (somehow) has his first rapper/producer project out as of Halloween, Conductor We Have A Problem, Pt.3. It’s the third entry into this series and first since around this time last year. Also surprising is that the Missouri producer wasn’t able to find a distributor for this project. So, he wound up having to fund it himself. For that we are so grateful to have this project in front of us. Overall, this is just a celebratory moment for one of the most consistent in the game.
But this album isn’t just here for kicks, it’s out to show just how talented of a curator he is. For the most part, Conductor Williams succeeds with most of the features holding up their end of the bargain. Rome Streetz, the duo of Wiz Khalifa and Benny The Butcher, as well as Elijah Hooks are some of the standouts. In terms of what Williams is giving listeners, there’s the usual and reliable dark boom bap instrumentals. Additionally, you will hear some hints of R&B thanks to the collaborations from Leon Thomas and Russ to some extent. To no surprise, the former of the aesthetics fare better. All in all, it’s great to have Conductor We Have A Problem, Pt.3 and we hope that the next will one will be even better.
Young Dolph’s convicted killer, Justin Johnson, just got an even worse sentence over the murder of the Memphis rapper. For those unaware, Johnson already received a life sentence for first-degree murder charges back in late September after the court found him guilty. Now, on Friday afternoon (November 1), Judge Jennifer Mitchell additionally sentenced him to 35 years in prison for conspiracy to commit first-degree murder, as well as 15 years for possessing a handgun as a convicted felon. Those sentences will be served at the same time, but the 35 years will come after his life sentence.
If you’re confused, the basic explanation is that if something were to happen to the original life sentence, such as parole or an overturn, Justin Johnson would still have to face 35 years in prison for these charges related to Young Dolph’s murder. Johnson, along with another gunman, shot and killed the Paper Route Empire MC at a Memphis bakery back in 2021. This was due to an alleged hit that Yo Gotti’s brother Big Jook placed on Dolph, although those remain theories without full confirmation at press time.
Furthermore, this additional sentence comes after Justin Johnson motioned for a new trial concerning the Young Dolph murder last week. “The verdict regarding the offenses of conviction was contrary to the weight and sufficiency of the evidence, and the evidence was insufficient to lead any rational trier of fact to conclude that Mr. Johnson was guilty beyond a reasonable doubt,” his attorney Luke Evans claimed. “The trial court erred by admitting gruesome photographs of the victim’s body at the crime scene… admitting gruesome autopsy photographs… [and] denying Johnson’s repeated motions to allow him to sit at the counsel table.” Evans continued: “The cumulative effect of multiple errors at trial warrants granting Mr. Johnson a new trial.”
Of course, this controversy follows others concerning the murder of Young Dolph, such as a conflict between Dolph’s colleague Kenny Muney and Ralo. Muney felt like the Atlanta rapper and folks like DJ Akademiks engaged in “click bait” over this trial. Fortunately, both hip-hop artists buried the hatchet and came to an understanding.
